Sonnet 8

Sonnet 8

Jean Cassou (1897-1986)

Sonnet 8
Il n’y avait que des troncs déchirés, que couronnaient des vols de corbeaux ivres, et le chäteau était couvert de givre, ce soir de fer où je me présentai. Je n’avais plus avec moi ni mes livres, ni ma compagne, l’âme, et ses péchés, ni cette enfant qui tant rêvait de vivre quand je l’avais sur terre rencontrée. Les murs étaient blanchis au lait de sphinge et les dalles rougies au sang d’Orphée. Des mains sans grâce avaient tendu des linges Aux fenêtres borgnes comme des fées. La scène était prête pour des acteurs fous et cruels à force de bonheur.
Sonnet 8
Only torn tree-trunks; drunken flight of crows above them; that was all: thick frost was on the fortress wall when I walked in, that iron night. I’d lost my books; the soul had gone, my bosom friend, whose sins were rife; I’d lost that girl who yearned for life when we on earth stood one to one. White sphinx’s-milk ran down the walls; red blood of Orpheus stained the flags; at windows blind as wall-eyed trolls crude hands had strung a screen of rags: a stage for actors who enjoyed being both cruel and paranoid.
Jean Cassou, arrested as a suspected Resistant on 13 December 1941, enters the La Furgole military prison in Toulouse. From Jean Cassou, ‘33 Sonnets of the Resistance’, Arc Publications.

Translation: Copyright © Timothy Adès

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He and She

Sonnet 9: Elle et Lui - Traduit de Hugo von Hofmannsthal

Jean Cassou (1897-1986)

Sonnet 9: Elle et Lui - Traduit de Hugo von Hofmannsthal
Une coupe au bord de la bouche, elle allait d’un si ferme pas et la main si sûre que pas une goutte ne se versa. Il montait un cheval farouche. Si sûre et ferme était sa main que, frémissant au coup de frein, le cheval s’arrêta soudain. Et pourtant, quand la main légère à l’autre main gantée de fer cette simple coupe tendit, ils tremblaient si fort, elle et lui, que les mains ne se rencontrèrent, et le vin noir se répandit.
He and She
Curved her lip, and curved the cup carried safely in her hand; sure and easy was her tread, not a single drop was shed. Sure and steady was his hand, and his horse high-spirited; he with mastery pulled up, made the startled creature stand. Did the strong hand grasp the cup that the fair one offered up? It was not done easily. How they trembled, he and she! Hand by hand was never found, and the dark wine stained the ground.
Jean Cassou, imprisoned by the Nazis, translated the poem of Hofmannsthal into French. Louis Aragon wrote this in his blazing Introduction:- ‘…For it would be absurd to see no more in these sonnets than the outcome of those nights of captivity: they are also a drawing-out of linguistic skill and poetic meditation by a craftsman of verse, a proven master of the modern handling of antique metre: and we must mention how far he goes in rhyming, at the limits of assonance, and his systematic taste for the weak rhyme, often combined with a rare word; and a way, too, of bringing in colloquial words and idiomatic makeweights (a donc which the unsuspecting might see as a filler, when it is the whole beauty of the line, and of the stress); and the high point of my proposition is perhaps that moment when he takes a poem of Hugo von Hofmannsthal ... but, for this story, we need to stop. ‘A sonnet of Hofmannsthal. A German sonnet, to which the patriot in the shadowy depths will give its French expression. Let no-one tell me that this confrontation of the nations is excessive: on the contrary, it is what gives this episode its unexpected value. Below the translation there is a commentary, since, for once, the captive found he could not do without a commentary: (The prisoners were forbidden anything to read. One day, though, a fragment of an issue of the Pariser Zeitung came into my hands. My cellmate and I devoured the evil print which was at any rate something to read. I had the joy of lighting on a sonnet of Hofmannsthal: Die Beiden, a famous piece from the anthologies which had always charmed me and which I adapted into our language by great efforts during one of my nights of insomnia). ‘One will not quickly forget this intellectual adventure at the heart of the most terrible of wars: this moment of reunion ... Put Jean Noir and Hofmannsthal in prison and two poets fraternise, with all the burden of condemnation that rests on this accord beyond and outside their loyalties, against their gaolers and that Germany which their gaolers obey. One will not quickly forget this adventure, pregnant with all the future, where the French part is sustained with its double splendour of moderation and excess, which charges a sonnet so powerfully that my sentence explodes, founders, drunk with a national pride whose ingredients are courage, incomparable poetry and resolve, and that loftiness of spirit that makes our poets the equals of our heroes. I imagine it was pride pure and simple that night which filled him, a man who was in prison for resisting the Germans, and yet marvellously translated Hofmannsthal in his prison. I can imagine his feelings, and by doing so I know much more than I would from a faithful report of the indomitable character of the French in captivity. I learn from this what no-one, not even this poet of ours, would presume to relate. I understand, beyond his modesty, beyond that reserve always maintained by those who have touched the pit of horror, I understand the mechanism which has come into play so often in these inexpiable years, which will amaze the world with our martyrs, this harvest of heroism, this unbelievable profusion of magnificent lives and deaths, which give today's France a hundred or a thousand times that which sufficed to make the grandeur of Rome. I understand by this anecdote of the translated sonnet the greatness of our heroes, their simplicity, even their silence. One will not quickly forget this intellectual adventure.’ From Jean Cassou, 33 Sonnets of the Resistance and other poems, Arc Publications. I speak here: https://www.youtube.com/watch?v=WtPx7UayrkM

Translation: Copyright © Timothy Adès

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Sonnet 4

Sonnet 4

Jean Cassou (1897-1986)

Sonnet 4
J'ai rêvé que vous portais entre mes bras, depuis la cour jusqu'à votre salon obscur. Vous sembliez une soeur des chères créatures que j'adore, mais je ne vous connaissais pas. Il faisait une nuit de lune et de frimas, une nuit de la vie, sonore d'aventures. Tandis que je cherchais à voir votre figure, je vous sentais légère et tremblante de foi. Puis je vous ai perdue comme tant d'autres choses, la perle de secrets et le safran des roses, que le songe ou la terre offrirent à mon coeur. Signes de ma mémoire, énigmes, tout me mène, avec chaque soleil formé à si grand peine, au chef-d'oeuvre d'une fort et lucide malheur.
Sonnet 4
I dreamed that in my arms I carried you up from the courtyard to your room, lit low. You seemed a sister of that darling crew I love, but you were one I did not know. It was a night of frost, a moonlit night, a night of life, romantic, ringing, bold. I tried to see your face, and you were cold, you shivered to my touch, and you were light. And then I lost you, lost like so much more, saffron of roses, pearl of secret store, that earth or dream had offered to my soul. Riddles, remembered signs, bring back to me, with every sun that forms so painfully, this culminating, strong, transparent hell.
From Jean Cassou ’33 Sonnets of the Resistance’, Arc Publications

Translation: Copyright © Timothy Adès

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I Don’t Know Which Direction the Wind is Blowing

Categories
Latin

I Don’t Know Which Direction the Wind is Blowing

Xu Zhimo (1897-1931)

Latin Version by Timothy Adès
I don’t know Which direction the wind is blowing - I am in a dream, In the dream’s gentle wave lingering. I don’t know Which direction the wind is blowing - I am in a dream, Her tenderness, my fascination. I don’t know Which direction the wind is blowing - I am in a dream, Sweetness is the glory of the dream. I don’t know Which direction the wind is blowing - I am in a dream, Her betrayal, my depression. I don’t know Which direction the wind is blowing - I am in a dream, Heartbroken in the gloom of the dream. I don’t know Which direction the wind is blowing - I am in a dream, Dimness is the glory of the dream.
I Don’t Know Which Direction the Wind is Blowing
nescioquo tendunt venti: vagor incola somni.   undulat ut somnus, lene liquore moror. nescioquo tendunt venti: vagor incola somni.   quippe puella bonast: captor et allicior. nescioquo tendunt venti: vagor incola somni.   dulcedo, somni gloria magna mei! nescioquo tendunt venti: vagor incola somni.   tristitiam tradit falsa puella mihi. nescioquo tendunt venti: vagor incola somni.   in somni tenebris torqueor, excrucior. nescioquo tendunt venti: vagor incola somni.   caligo, somni gloria maesta mei!

Translation: Copyright © Timothy Adès

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Pierrot’s Dance

Tanzlied Pierrots Words by ‘Paul Schott’ (Korngold & father) from his opera ‘Die tote Stadt’

Erich Korngold (1897-1957)

Tanzlied Pierrots Words by ‘Paul Schott’ (Korngold & father) from his opera ‘Die tote Stadt’
Mein Sehnen, mein Wähnen, es träumt sich zurück. Im Tanze gewann ich, verlor ich mein Glück. Im Tanze am Rhein, bei Mondenschein, gestand mir's aus Blauaug ein inniger Blick, gestand mir's ihr bittend Wort: o bleib, o geh mit nicht fort, bewahre der Heimat still blühendes Glück, mein Sehnen, mein Wähnen, es träumt sich zurück. Zauber der Ferne warf in die Seele den Brand, Zauber des Tanzes lockte, ward Komödiant. Folgt ihr, der Wundersüssen, lernt unter Tränen küssen. Rausch und Not, Wahn und Glück, ach, das ist des Gauklers Geschick. Mein Sehnen, mein Wähnen, es träumt sich zurück...
Pierrot’s Dance
My craving, my raving, my dream of old days My joy, I had won it and lost in the dance. I danced by the Rhine, the moon did shine, The blue eye, she threw me an intimate glance And this pleading word she did say: O stay, never journey away, Let the joy of our homeland still blossom and blaze. My craving, my raving, my dream of old days. Faraway Magic lit up my soul till I burned, Dance-away magic beckoned, till clown I turned. Follow the fay who endears, Learn how to kiss through tears. Noise and need, raving, joy, Such is the skill of the clown. My craving, my raving, my dream of old days …

Translation: Copyright © Timothy Adès

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We'll be sleeping side by side

Nous dormirons ensemble

Louis Aragon (1897-1982)

From: Le fou d'Elsa
Nous dormirons ensemble
Que ce soit dimanche ou lundi Soir ou matin minuit midi Dans l'enfer ou le paradis Les amours aux amours ressemblent C'était hier que je t'ai dit Nous dormirons ensemble C'était hier et c'est demain Je n'ai plus que toi de chemin J'ai mis mon cœur entre tes mains Avec le tien comme il va l'amble Tout ce qu'il a de temps humain Nous dormirons ensemble Mon amour ce qui fut sera Le ciel est sur nous comme un drap J'ai refermé sur toi mes bras Et tant je t'aime que j'en tremble Aussi longtemps que tu voudras Nous dormirons ensemble.
We'll be sleeping side by side
Sunday, Monday, any day Dawn or dusk, midnight, midday, Damned in hell or sanctified, Loves alike and loves allied, As I told you yesterday, We’ll be sleeping side by side. Now, tomorrow, yesterday You alone to be my way, In your hands my heart I lay, Lively, with your heart to guide: Long as human time shall bide We’ll be sleeping side by side. What has been shall be, my sweet: Heaven is on us like a sheet. I embrace you, mortified, Trembling, lovelorn, petrified. For as long as you say yea, We’ll be sleeping side by side.

Translation: Copyright © Timothy Adès

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Sonnet 24

Sonnet 24

Jean Cassou (1897-1986)

Sonnet 24
*Briques et tuiles, etc* - Verlaine Plomb, zinc, et fer, ô les charmants petits enfers pour les amants! Mer et desert: l'événement n'a rien à faire pour le moment. À tous nos coups le néant joue échec et mat. L'histoire close plus jamais n'ose produire un Acte.
Sonnet 24
[Verlaine's Belgian jaunt with Rimbaud] Lead, iron and tin, snug sulphur-mines for Valentines to sizzle in! Ocean and sand: the great event is impotent as matters stand. All that we do the void has checked, checkmated too. The final page has no Effect that it can stage.
In '33 Sonnets of the Resistance', Arc Publications

Translation: Copyright © Timothy Adès

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AND THERE WAS LIGHT

ET LA LUMIÈRE FUT

Jean Cassou (1897-1986)

Joyeux Pâques! Un grand poème de JEAN CASSOU, chef de la Résistance au sud-ouest, à qui de Gaulle au chevet donne la Croix de la Libération. Communiste, il quitte le parti contre le pacte Molotov-Ribbentrop ; il défend Tito qui rompt avec Staline : on le dénonce. Cassou créera le Musée National d’Art Moderne ; il recevra 1971 le Grand prix national des Lettres, 1983 le Grand Prix de la Société des Gens de Lettres, et la Médaille d'or du mérite des beaux-arts (Espagne). Néanmoins il reste ‘le grand méconnu’. Ce poème du recueil ‘La rose et le vin’ est écrit en 1941 et publié en 1952 chez l’Imprimerie des Poètes. Avec ses échos religieux, il est plein de lumière et d’espoir.
ET LA LUMIÈRE FUT
Et la lumière fut, qui éclaire tout homme en ce monde et toute la misère du monde, et qui forme l'éclat des raisins et des pommes et les jaunes frissons sous les feuilles profondes. Et la lumière est pure alors qu'elle arrondit ses touches de splendeur sur la masse des ombres, comme une lampe aimée que la main de la nuit plonge au fond de l'amour par un escalier sombre. Et la lumière est pure et la lumière est sainte, et la lumière parle avec des mots joyeux plus haut que la tempête et plus fort que la plainte qui réveille en sursaut les dormeurs malheureux. Sois louée, sois bénie, lumière inexhaustible, thyrse de poésie, serpent de guérison, peine et joie consenties, immanence visible, conscience casquée, ô déesse raison! Sois bénie, et béni soit ton règne efficace: qu'il étende ses bras de révélation comme des nappes d' or au large des espaces et y fasse tinter les tours bleues des Sions. Manifeste les sons étreints par le silence, délivre les pitiés, les charmes engourdis: il est encor des poids pour la juste ba1ance, il est encor des pleurs qui n'ont pas été dits. Des abîmes de deuil et de mémoires vaines attendent ton signal, et d'obscurs continents fumant, sur leurs degrés, d'odeurs suburréennes, et des clairons muets au seuil des monuments. Ta suscitation doit faire comparaître toutes ces draperies grouillantes, mille espoirs, poings convulsés aux grilles rouges des fenêtres, comme une tragédie fermée de toutes parts. Éclaire de tes yeux la minutie des rides, la multiplicité des plis, la belle trace des vagues accouplées et des cheveux rapides que dénombre le vent aux profils qui s' effacent. Exalte les vallées où les peuples gémissent, couchés sur les tombeaux des âges embaumés, fends les temples, pénètre au secret des calices où bourdonne l'essaim des anges oubliés. Prends les rues dans tes rais comme des ronces. Mêle à tes fruits irisés les bulles des ruisseaux, la paille des fumiers, le cri des étincelles farouche et sans répit sous le choc des marteaux. Ouvre les portes! L'âme est noire dans son coin, et cette odeur de sang qui brûle plaît aux mères. Mais tu sais rire, et d'un rire chaste et sans fin, jusque parmi les fleurs pourries des cimetières, toi, tu sais rire, et comme d'un rire espagnol, torrent de flamme et d'eau sauvage, ma lumière, mon grand sarcasme phrygien, ma carmagnole, cheval, cheval terrible, ô la plus libre et fière des apparitions au-dessus de nos têtes! Tue les dieux mauvais, tue! Oh! quel dégoût croupit dans nos siècles comme des restes de planètes retombés loin de toi dans l'éternelle nuit! Mais ne nous quitte pas! Embrase jusqu' à l'or la plaie qui nous dévore et ces choses petites et innocentes, nées à peine dans la mort, la pauvre mort chétive et elle aussi bénite, la misérable mort d'ici, notre seul bien, (et c'est pourquoi tu sais que nous l'aimions... ). Mais d'autres amours nous captiveront que ce triste rien, quand tout n'appartiendra plus qu' à ta flamme haute, porté vers cette épée ascensionnelle. Et tout sera clair et présent. Radieuse, la terre aura vêtu sa robe virginale d'août pour boire infiniment le vin de la lumière.
AND THERE WAS LIGHT
And there was light, that lightens everyone that lives, and lightens all this world’s distress, puts bloom on grapes and apples in the sun, under low leaves a shivering yellowness. The light is pure when it rounds out its glory on fields of shadow touched with splendour bright, a well-loved lamp to reach an upper storey, thrust into Love’s depths by the hand of night. The light is pure, the light has sanctity, and the light speaks, its words rejoice the heart, above the storm and moaning threnody that wakes unhappy sleepers with a start. Be praised, be blessed, light inexhaustible, serpent of healing, poets’ thyrsus, yes, pain and joy sanctioned, immanence visible, goddess of reason, helmeted consciousness! Blessings be on you and your potent reign: may it stretch forth its arm, enlightening, like cloth of gold spread wide across the plain, and make the high blue towers of Sions ring. Show forth the sounds that were constrained in silence: set pity free, shake loose the magic word; there are yet makeweights for the rightful balance, there are yet tears whose story is unheard. Chasms of mourning and vain memories await your signal; murky continents, steaming with old Suburan fragrances; mute bugles on the steps of monuments. At your arousal, everything appears: the thousand hopes, the vermin-ridden drapes, the fists convulsing at red window-bars, a tragedy that nobody escapes. Illumine with your eyes the waves in pairs, the plethora of folds, the lovely trace of wrinkled intricacies, and quick hairs, counted by winds, on brows the years efface. The peoples cry aloud. Exalt the valleys! They lie on centuries entombed in balm. Cleave, cleave the temples, penetrate the chalice where the forgotten angels buzz and swarm. Embrace roads in your rays like briars. Bring, mingled with rainbow fruits, the rivers’ bubbles, straw of the dunghills, sparks that fiercely sing, relentless, as the hammer-blow redoubles. Open the gates! The soul is black, unseen; this is the burnt-blood smell a mother craves. But you laugh well: your laugh is endless, clean, even to the flowers that wither on the graves. Yes, you laugh well, my light, à l’espagnole, flame and wild cataract, a streaming flood, my Phrygian caustic wit, my carmagnole, terrible steed, the freest and most proud of airy apparitions. Kill, oh kill the wicked gods! As dregs of planets fall, our aeons of disgust are festering still, crashed far from you in night perpetual. But stay amongst us! Burn to glowing gold the wound that feasts on us, the littleness, things small and innocent and scarcely foaled before they die the death we also bless; death’s all we have on earth, and that is why you know we loved it ... Many a better love will charm us than that dismal nullity, when all reverts to your high flame above, nearing the sword of the ascension. All shall then be clear and present. Beaming bright, Earth in her August garments virginal shall infinitely drink the wine of light.
Jean Cassou the Resistant broke with the Communists; composed 33 Sonnets in his head, in a Vichy prison (Arc Publications); created the Musee National d'Art Moderne; still 'the great unrecognised'. Dual text and more on the PRé page #pourunerépubliqueécologique, 4 April 2021.

Translation: Copyright © Timothy Adès

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The Mouse from England

La souris d'Angleterre

‘Nino’ – Michel Veber – (1896-1965)

La souris d'Angleterre
C'était une souris qui venait d'Angleterre, Yes, Madame, yes, my dear, Ell' s'était embarquée au port de Manchester Sans même savoir où s'en allait le navire. No, Madam', no, my dear. Elle avait la dent long' comme une vieille Anglaise, S'enroulait dans un plaid à la mode écossaise Et portait une coiffe en dentelle irlandaise. Dans le port de Calais, elle mit pied à terre, Yes, Madame, yes, my dear, Elle s'en fut bien vite à l'hôtel d'Angleterre, Et grimpe l'escalier tout droit sans rien leur dire, No, Madam', no, my dear, Le grenier de l'hôtel lui fut un vrai palace, La souris britannique avait là tout sur place, Du whisky, du bacon, du gin, de la mélasse. Chaque soir notre miss faisait la ribouldingue, Yes, Madame, yes, my dear, C'était toute la nuit des gigues des bastringues, Les bourgeois de Calais ne pouvaient plus dormir, No, Madam', no, my dear, En vain l'on remplaçait l'appât des souricières, Le Suiss' par le Holland', le Bri' par le Gruyère, Rien n'y fit, lorsqu'un soir on y mit du Chester. C'était une souris qui venait d'Angleterre, Yes, Madame, yes, my dear.
The Mouse from England
Now once upon a time there was an English mouse Yes, Madame, yes, my dear. She sailed from Liverpool – she must have been a Scouse. She didn’t even know the likely port-of-call. No, Madame, no, my dear. Long in the tooth she was, like any English crone, She wore a tartan plaid, the kind the Scots put on, And proudly on her head an Irish lace confec-ti-on. She came to Calais port, and there she disembarked Yes, Madame, yes, my dear. And to the Angleterre Hotel she quickly walked. Straight up the stairs she went, she said no word at all. No, Madame, no, my dear. The loft of the hotel outdid the great palaces: The lucky British mouse was well supplied, with masses Of whisky, of bacon, of gin, and of molasses. Each evening our Miss Mouse went on a jolly spree, Yes, Madame, yes, my dear. With noisy reels and jigs and shouts of revelry. The burghers of Calais could get no sleep at all No, Madame, no, my dear. The cheeses in the traps were switched to no avail, The Swiss, the Dutch, the Brie, so many bound to fail, Till at last one night they put some Wensleydale. For once upon a time there was an English mouse Yes, Madame, yes, my dear.

Translation: Copyright © Timothy Adès

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RAINSONG

EIN REGENLIED

Carl Zuckmayer (1896-1977)

EIN REGENLIED
* Du singendes Netz - du silbern Gespinst - Du seidiges Rauschen im Baumgerinst. * In der Traufe läuten die Tropfen. Geisterknöchel klopfen. Trippeln Gespensterpfoten. In der Erde faulen die Toten. * Knicken die Lilienstengel. In den Wolken flüstern die Engel.
RAINSONG
You silvery yarn you singing cocoon You rustle of silk in the verdant crown Raindrops in gutters are rippling Knuckles of sprites are cracking Trotters of ghosts are tripping Corpses in earth are rotting Lilies on stems are quivering Angels on clouds are whispering

Translation: Copyright © Timothy Adès

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